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About the author

Matilda Tomaryn Bruckner taught for many years at Princeton University before moving to Boston College, where she is currently Professor of French. She has published numerous articles, chapters in collective volumes, and dictionary entries in the fields of medieval French literature. Her major books include Narrative Invention in Twelfth-Century French Romance: The Convention of Hospitality (1160-1200) (1980), Shaping Romance:Interpretation, Truth, and Closure in Twelfth-Century French Fictions (1993), and (with her two collaborators, Laurie Shepard and Sarah White) an edition and translation of Songs of the Women Troubadours (1995; rev. 2000). She has also been co-curator for two art exhibits at Boston College, 'Memory and the Middle Ages'and 'Secular Sacred, 11th - 16th Century: Works from the Boston Public Library and the Museum of Fine Arts'.

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Matilda Tomaryn Bruckner provides the first book-length examination of all four verse continuations that follow Chrétien's unfinished Grail story, a powerful site of rewriting from the late twelfth through the fifteenth centuries. By focusing on the dialogue between Chrétien and the verse continuators, this study demonstrates how the patterns and puzzles inscribed in the first author's romance continue to guide his successors, whose additions andreinventions throw new light back on the problems medieval readers and writers found in the mother text: questions about society and the individual; love, gender relations, and family ties; chivalry, violence, and religion; issues of collective authorship and doubled heroes, interpretation, rewriting, and canonformation.However far the continuations appear to wander from the master text, the manuscript tradition supports an implicit claim of oneness extending across the multiplicity of discordant voices combined in a dozen different manuscript compilations, the varying ensembles in which most medieval readers encountered Chrétien's Conte. Indeed, considered as a group the continuators show remarkable fidelity in integrating his romance's key elements, as they respond sympathetically to thedynamic incongruities and paradoxical structure of their model, its desire for and deferral of ending, its non-Aristotelian logic of 'and/both' in which contiguity forces interpretation and further narrative elaboration. Unlike their prose competitors, the verse continuators remain faithful to the dialectical movementinscribed across the interlace of two heroes' intertwined stories, the contradictory yet complementary spirit that propels Chrétien's decentered Conte du Graal. less